A Quote by Sarah Barthel

There are so many layers of bullshit and everything sounds the same. — © Sarah Barthel
There are so many layers of bullshit and everything sounds the same.

Quote Author

Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
I think humans are fascinating in general. We're so weird. We do so many quirky things, and we don't even know it. There's just so many layers upon layers of nuances in everything we do, and the most fun part as an actor is trying to get into all those nuances, whether they're conscious or unconscious.
I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.
I am not a therapist. I am not a spiritual leader. These elements are in the art: it is therapeutic, spiritual, social and political - everything. It has many layers. But art has to have many layers. If it doesn't, then forget it.
When you're listening to radio and hear the same 20 songs over and over and over, you want a break from it. Sometimes you don't want to hear something that sounds just like everything else on the radio. Eventually, if you hear the same sounds and the same musicians and the same mixes and all of that, it will start to sound like elevator music.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
I'll play about with different sounds in the studio with no concept of music at all. I'll just build up a song in layers and when it sounds all right and gives me a vibe, that's enough, and I'll add vocals and move on.
I think that I've always written about things that are very personal, but initially, I coded everything. I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there for me. I knew where the magnets were, behind the gyprock, and the magnets were very powerful. I think they had to be powerful for me, otherwise the reader wouldn't have a reciprocal experience.
All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.
...I've stopped wanting to do any work at all. All work is bullshit. Everyone knows that. No matter how many telephones and extensions, no matter how many secretaries, no matter how many names in the rolodex. It's all bullshit.
Anybody's true nature is bullshit. There is no human soul. Emotion is bullshit. Love is bullshit.
You have so many layers, that you can peel away a few, and everyone's so shocked or impressed that you're baring your soul, while to you it's nothing, because you know you've twenty more layers to go.
What sort of personality does one need to have, as a twenty-first-century mechanic, to tolerate the layers of electronic bullshit that get piled on top of machines?
I am rather partial to Shakespeare, though I haven't done loads. But when it's done right, there's nothing like it. There are layers upon layers upon layers, and you unpack new things constantly. I don't know how he knew so many things - about the world, about women, about human nature, life, death, our fears and hopes.
I think that layers in music, whether it's layers juxtaposing emotions and feelings or layers of texture, make for a more interesting product.
Night and gin and music-the right setting for peeling off the thin clinging layers of bullshit and finding one's way down closer to the essential self.
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